Allen Ginsberg (1926–1997)

In October 1955, there was a low-key event at the 6 Gallery on Fillmore Street in San Francisco, with the promise of a "remarkable collection of angels on one stage reading their poetry." Jack Kerouac went around with the collection bowl, whilst Allen Ginsberg whipped the audience into excitement by reading Part I of his work-in-progress, Howl. When Lawrence Ferlinghetti published the completed poem the following year as the fourth in his Pocket Poets series, it soon became a runaway bestseller (partly thanks to a high-profile obscenity trial) and one of the defining works of what came to be called Beat literature.

The poem itself is in three parts: Part I is a grand, Whitmanesque celebration of the lives of his poetic heroes and of his own struggle against the modern world, with copious amounts of (gay) sex, drugs, bumming around and political subversion thrown in; the incantation of Part II confronts the destructive forces of the child-eating Moloch directly, and in Part III he addresses the dedicatee of the poem, Carl Solomon, whom he met while they were both patients in the same psychiatric institution. Then there's a "Footnote to Howl", which is another incantation, a kind of Beat Sanctus.

As in Whitman, the first thing that hits you about the poem is its tremendous momentum and kinetic energy, but there's a lot more to it than just the pounding impact of the long lines: every line is dense with paradoxical, unexpected but never quite nonsensical language (negro streets, starry dynamos, unshaven rooms, pubic beards, ...), and there's a clear thread of insight into the hostile world under all that counter-culture posturing. It's tempting to think of it as nothing more than drug-induced ramblings from long ago, but that's not at all what's going on here: this is a serious attempt to push beyond the usual limits of poetry and make it relevant to people who are confronting the dehumanising effects of fifties society, and it still clearly has things to say to us today.

The Pocket Poets collection includes five more, shorter, incantatory poems in the same kind of Whitman long-line format, plus four rather more conventionally lyrical "earlier poems". Probably the most striking is "Sunflower Sutra", where he and Kerouac sit in the shade of a locomotive on a dockside and contemplate a dead sunflower.… (mais)